Originally published in Earshot Jazz December 2014
Drummer Brad Gibson named this CD after the naughty Nordic nudies adorning the walls at the Copper Gate where this band originated. The club is gone but the risqué vibe lives on. The erotic close up female open mouth on the cover doesn’t quite have her tongue deep enough in cheek.
Featuring six compositions by Gibson, this session was recorded by Jason Gray at the Seattle Drum School, mixed by Mell Dettmer at Studio Soli, and mastered by Doug Krebs. The band recorded in the L.A.B. (Little Auditorium in the Back) of the Drum School without headphones. During post production some solos were cut and digital effects added.
One of the unusual aspects of this ensemble is the use of two keyboardists, one playing analog instruments, the other digital. Over coffee in the University District, Gibson explained, “I used two keyboards to get a bigger sound than keyboard and guitar.” Gibson likes “interplay within the moment with individuals who work well together” and is satisfied that the CD is “a complete and good representation of my compositions.”
The CD opens with “The Matriarch,” a through composed meditation with improvisation only by the drum and keyboard accompaniment. After a written moaning alto saxophone solo by Bryan Smith, the band breaks into silence. With nothing to fill the break, ears have a chance to breathe and gather energy before the restatement of the melody. “I Hope U Make it Dirty” uses the syllables of the title to generate the melodic rhythm. The 1960’s era “K” Zildjian high hat cymbals set up the funky groove with a crisp “tick, tick, tick” beneath the cloudy pad from Mack Grout on digital keyboards and phase shifting “wee-oo-wee-oo” from Ryan Burns on analog keyboards. “Round & Round” fades in from silence to a melody playing with rhythms of threes against twos. Trumpeter Scott Morning takes a muscular solo over the open vamp, spurred by Gibson’s drum fills and driving pulse on the ride cymbal bell. The song ends with a dizzying staccato drum solo by Gibson over four repeated notes. The high hat cymbals “chick” brightly on a sentimental ballad for Gibson’s wife, “Andrea.” “Twilight” features a vamp by bassist Jason Gray that turns the beat around underneath a slowly building series of long harmonies in the horns and ambient solos from the keyboards. The band sound takes me back to fond memories of 1970’s collaborations between electric keyboardist Jan Hammer, electric bassist Gene Perla, and percussionist Don Alias, but with a Northwest cloud covered moodiness. “Blue Topaz” spins quick disorienting five-note arpeggios against punches by the drums and horns.
Check out the Poontet 9:00pm-12:00am December 10 at Vito’s.
Visit https://www.bradgibson.com/ to read more about Brad.
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